{"id":1147344,"date":"2026-02-07T08:52:12","date_gmt":"2026-02-07T08:52:12","guid":{"rendered":"https:\/\/www.polygon.com\/?p=538559"},"modified":"2026-02-07T08:52:12","modified_gmt":"2026-02-07T08:52:12","slug":"theres-a-lot-to-lumons-vocabulary","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/theres-a-lot-to-lumons-vocabulary\/","title":{"rendered":"There\u2019s a lot to Lumon\u2019s vocabulary"},"content":{"rendered":"
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<\/figcaption><\/figure>\n

The list of things that make Severance<\/em>\u2019s Lumon Industries<\/a> incomparably eerie is long: There\u2019s the foreboding, monolithic building filled with dizzying, nondescript hallways. There are the oft-misplaced company-sanctioned attempts at camaraderie and joy<\/a>. And, of course, there\u2019s the off-kilter vocabulary that\u2019s indelible to the company\u2019s control over everyone it employs (and some it doesn\u2019t).<\/p>\n

Lumon\u2019s vernacular may at first seem par for the course for sci-fi \u2014 it\u2019s an odd and specific repertoire that makes the viewer remember that this is not our world. In this case, though, it\u2019s not just the writers communicating with the viewer. \u201cFetid moppet\u201d is the insult Jame Eagan spits at his daughter in season 2, episode 2, after her innie escapes and makes a scene. Helena Eagan looks down in shame, or perhaps a bit of anger; the insult alone is enough punishment. The remark, literally, means \u201csmelly child\u201d \u2014 to our ears, a strange if not outright misplaced insult. Certainly, there is a more biting insult Jame could\u2019ve leveled at Helena. Some might\u2019ve even expected him to berate her at length. But at Lumon, it\u2019s clear even just these two words make a devastating accusation and a profound offense.<\/p>\n

\"Helena<\/p>\n

That\u2019s because Lumon has established its own vocabulary and vernacular as a method of control, and as a way to construe who is \u201cin\u201d and who is \u201cout\u201d when it comes to being in Lumon\u2019s good graces. And like any good controlling institution, anyone at Lumon can be cast aside if they step out of line. Even Helena Eagan \u2014 heir to the company, and evidently an important part of its public image \u2014 can be denigrated with the use of just a few words. <\/p>\n

At Lumon, words aren\u2019t just words \u2014 they\u2019re the extensions of Kier, and what Kier says is truth. Amanda Montell, author of Cultish: The Language of Fanaticism<\/em>, writes about the way cultish groups create their own vocabulary \u2014 a code that works to establish an \u201cus versus them\u201d dynamic and prevent thinking that criticizes or undermines the controlling group\u2019s ideology. Montell often uses the analogy of learning Pig Latin to describe this phenomenon \u2014 when you learn how to use it, you feel \u201cin.\u201d<\/p>\n

Montell differentiates, though, between a vocabulary used to increase understanding, like medical terminology, and a vocabulary like Lumon\u2019s. Cultish language, Montell says in this interview with Planet Word<\/a>, is \u201cthere to make the exchange of information more<\/em> confusing. It\u2019s there to obscure truths.\u201d<\/p>\n

The \u201cfetid moppet\u201d insult is a great example of this. It\u2019s archaic and muddled by nuance, but the insult is understood as it was intended: She must simply submit all of herself to him, and hope she doesn\u2019t misstep again.<\/p>\n

No one knows this better than Seth Milchick, the severed-floor manager<\/a> whose performance review put him on blast for his vocabulary. He\u2019s been promoted in season 2, and he\u2019s desperate to maintain his role. He, too, employs Lumon\u2019s eerie vocabulary and phrasing \u2014 but it\u2019s too much, apparently. In his performance review in episode 5, Lumon rep Mr. Drummond tells him that he\u2019s received \u201cthree contentions,\u201d the first of which is \u201cuses too many big words.\u201d<\/p>\n

\"\"<\/p>\n

Milchick tries to maintain his own ideas about how to run things. Just an episode after his performance review, he calls Miss Huang into his office to reprimand her in his own way, and it\u2019s filled with direct language and \u201cbig words.\u201d He tells Miss Huang that graduation from her fellowship will require \u201ceradicating from your essence childish folly.\u201d We still don\u2019t know Milchick\u2019s true thoughts, backstory, or allegiances, but one thing is clear: He is not so entrapped by Lumon\u2019s control that he can\u2019t think for himself. Nonetheless, he works to please or impress his superiors; he practices his new, simpler speech in the mirror, attempting to excise the parts of him that displease Lumon and its mysterious board.\u00a0<\/p>\n

Montell also talks about \u201cthought-terminating cliches,\u201d used to halt doubt when it arises and remind members of a group how they\u2019re supposed to think if they want to stay inside of it. For Lumon, perhaps the most often used thought-terminating cliche is enough to get anyone to curiously capitulate: \u201cThe work is mysterious and important.\u201d Drummond uses the phrase to convince Helena to return to the severed floor after the disastrous ORTBO<\/a> in episode 5, for instance.<\/p>\n

Lumon\u2019s management uses similar tactics on the innies, too, flooding them with meaningless platitudes<\/a> at moments when they\u2019re confused or, importantly, when they\u2019re threatening to rebel once again. Like Montell says, it\u2019s about creating less<\/em> clarity, not more. When Irving\u2019s innie disappears after misbehaving during the ORTBO, for example, his colleagues know his outie has likely been fired from Lumon. Milchick calls it an \u201celongated cruise voyage,\u201d though \u2014 and while Dylan\u2019s vocal about calling this out as a lie, Mark is too uncomfortable, too confused, and too tired to resist. He accepts the non-truth, because to deny it would be to acknowledge other realities of the ORTBO, like Helena deceiving him successfully.<\/p>\n

It\u2019s not just the innies, or even the employees in general, that Lumon seeks to control with its idiosyncratic verbiage \u2014 it works to unsettle the viewer, too, and keeps us at arm\u2019s length from whatever is going on inside Lumon\u2019s doors. It\u2019s no wonder that fans are left theorizing about Severance<\/em>\u2019s big secrets \u2014 the language of Lumon creates a fog so thick that even those raised in it can\u2019t cut through to the reality underneath. In episode 8, when Harmony Cobel returns to her childhood home, her Lumon-allegiant aunt speaks to her in passive voice, half-truths, and obscurities. She\u2019s Lumon through and through, and for her, it\u2019s possible she\u2019s outright forgotten how to speak in a typical, modern fashion. Or maybe Lumon\u2019s is the only vernacular she speaks, instilled in her from the age she started working in that freezing factory.\u00a0<\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The list of things that make Severance\u2019s Lumon Industries incomparably eerie is long: There\u2019s the foreboding, monolithic building filled with dizzying, nondescript hallways. There are the oft-misplaced company-sanctioned attempts at camaraderie and joy. And, of course, there\u2019s the off-kilter vocabulary that\u2019s indelible to the company\u2019s control over everyone it employs (and some it doesn\u2019t). Lumon\u2019s vernacular may at first seem par for the course for sci-fi \u2014 it\u2019s an odd and specific repertoire that makes the viewer remember that this is not our world. In this case, though, it\u2019s not just the writers communicating with the viewer. \u201cFetid moppet\u201d is the insult Jame Eagan spits at his daughter in season 2, episode 2, after her innie escapes and makes a scene. Helena Eagan looks down…<\/p>\n

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